One of our country's premier cultural and social critics, bell hooks has always maintained that eradicating racism and eradicating sexism must go hand in hand. But whereas many women have been recognized for their writing on gender politics, the female voice has been all but locked out of the public discourse on race.Killing Rage speaks to this imbalance. These twenty-three essays are written from a black and feminist perspective, and they tackle the bitter difficulties of racism by envisioning a world without it. They address a spectrum of topics having to do with race and racism in the United States: psychological trauma among African Americans; friendship between black women and white women; anti-Semitism and racism; and internalized racism in movies and the media. And in the title essay, hooks writes about the killing rage--the fierce anger of black people stung by repeated instances of everyday racism--finding in that rage a healing source of love and strength and a catalyst for positive change. bell hooks is Distinguished Professor of English at City College of New York. She is the author of the memoir Bone Black as well as eleven other books. She lives in New York City.
In a memoir that pierces and delights us, Jill Ker Conway tells the story of her astonishing journey into adulthood--a journey that would ultimately span immense distances and encompass worlds, ideas, and ways of life that seem a century apart.She was seven before she ever saw another girl child. At eight, still too small to mount her horse unaided, she was galloping miles, alone, across Coorain, her parents' thirty thousand windswept, drought-haunted acres in the Australian outback, doing a man's job of helping herd the sheep because World War II had taken away the able-bodied men. She loved (and makes us see and feel) the vast unpeopled landscape, beautiful and hostile, whose uncertain weathers tormented the sheep ranchers with conflicting promises of riches and inescapable disaster. She adored (and makes us know) her large-visioned father and her strong, radiant mother, who had gone willingly with him into a pioneering life of loneliness and bone-breaking toil, who seemed miraculously to succeed in creating a warmly sheltering home in the harsh outback, and who, upon her husband's sudden death when Jill was ten, began to slide--bereft of the partnership of work and love that had so utterly fulfilled her--into depression and dependency. We see Jill, staggered by the loss of her father, catapulted to what seemed another planet--the suburban Sydney of the 1950s and its crowded, noisy, cliquish school life. Then the heady excitement of the University, but with it a yet more demanding course of lessons--Jill embracing new ideas, new possibilities, while at the same time trying to be mother to her mother and resenting it, escaping into drink, pulling herself back, striking a balance. We see her slowly gaining strength, coming into her own emotionally and intellectually and beginning the joyous love affair that gave wings to her newfound self. Worlds away from Coorain, in America, Jill Conway became a historian and the first woman president of Smith College. Her story of Coorain and the road from Coorain startles by its passion and evocative power, by its understanding of the ways in which a total, deep-rooted commitment to place--or to a dream--can at once liberate and imprison. It is a story of childhood as both Eden and anguish, and of growing up as a journey toward the difficult life of the free.
Here is the fiery, provocative, and unparalleled work of feminist art criticism that launched Camille Paglia's exceptional career as one of our most important public intellectuals. Is Emily Dickinson "the female Sade"? Is Donatello's David a bit of pedophile pornography? What is the secret kinship between Byron and Elvis Presley, between Medusa and Madonna? How do liberals and feminists--as well as conservatives--fatally misread human nature? This audacious and omnivorously learned work of guerrilla scholarship offers nothing less than a unified-field theory of Western culture, high and low, since Egyptians invented beauty--making a persuasive case for all art as a pagan battleground between male and female, form and chaos, civilization and daemonic nature.47 photographs.
"Royal and saintly women are well-represented here, with the welcome addition of women from the Mediterranean arc...Garland has done a solid job of presenting this book." -- Arthuriana
"The Anthology gives a fine sense of the great range of women's writing in the Middle Ages." -- Medium Aevum
In our journey toward spiritual evolution, each of us goes through the stages of Maiden (infant to puberty), Mother (adult and parent), and Crone (wise elder). Maiden, Mother, Crone is a guide to the myths and interpretations of the Great Goddess archetype and her three faces--so that we may better understand and gracefully accept the cycle of birth and death.
The author, who endured a severely disfiguring cancer in childhood, offers a meditation on the pain and healing she has endured, searching through a culture obsessed with physical beauty for love, acceptance, and inner peace
This is a powerful, moving, at times shocking account of three generations of Chinese women, as compelling as Amy Tan. --Mary Morris. An evocative, often astonishing view of life in a changing China. -- The New York Times
First published in 1988, Riane Eisler's The Chalice and the Blade re-examines our societal cultural origins from a gender-holistic perspective, showing that the war of the sexes is neither divinely nor biologically ordained. The Chalice and the Blade presents evidence that for the longest span of our prehistory, cultures in particular regions of the world oriented towards what Eisler calls a partnership model, or gylany, to form a society in which relationships between the sexes are an egalitarian partnership. These cultures were matrifocal, focusing on live-giving and nuturing relationships.
To celebrate the 30th anniversary of the publication of The Chalice and the Blade, this reissue includes a new epilogue by Eisler that discusses why her theories still matter in the 21st century and its current political and social climate following the 2016 presidential election.